 Good afternoon. My name is Aaron Colley, and as the program committee chair for NDSA's Digital Preservation 2018 conference, I have the distinct honor and privilege of sharing the Wi-Fi password and letting you know where the restrooms are. Clickers not advancing. Alright. The Wi-Fi information is here on this slide. DLF Forum 18 is the network to connect to, and the password is uppercase DLF 2018 exclamation point. The restrooms, you will find the nearest all-gender restroom just outside the Milan conference room, which is where we're at now, around the corner in between where we are and the breakout rooms. There are additional men and women's restrooms that are a little bit further just beyond the registration desk. Alright. So now that those important introductory notes are out of the way, in all seriousness, it is really heartwarming to see a community such as NDSA come together year after year growing and flourishing alongside our bold and inspiring host the Digital Library Federation, to whom we owe so much for its continued support, guidance, and hospitality. DLF has brought Digital Pres into a higher tier of mindfulness, inclusivity, and conference planning sophistication for which you are all the direct beneficiaries. Please join me in thanking Bethany, Catherine, Alia, and Becca for their hard work and especially for their continued guidance for the Digital Pres conference. Whether this is your first time at Digital Pres or if you've been coming longer than I have, I want to welcome you to this space here and now, the beautiful M Resort in Henderson, Nevada. Some of you have just arrived and others like me are on the verge of exhaustion after an amazing DLF forum. Regardless, I want to thank you and welcome you here now because due to the efforts of many, here and now we have everything or almost everything that we need for a day and a half of conferencing on the most recent developments in Digital Preservation. We have these things because of the hard work of the hotel staff who have been preparing for our arrival for weeks, the flawless event planning of the DLF staff who seem to do one better every year, and we have all of these things here and now due to the intellectual work of the program committee who have been working for months to craft the best possible program as well as to all of the presenters who answered our call to conference. Finally, we're here because of all of you who have traveled hundreds and some thousands of miles to be here. On behalf of the NDSA leadership team and the DigiPres program committee, I'd like to thank you for your support and presence here today. Thank you. Before we move on to more logistics, I also want to formally thank our Digital Preservation 2018 Planning Committee for all their hard work in supporting the planning for Digital Preservation 2018. Our program committee has endured monthly meetings since February with me to not only put together our program but also to launch a new mentoring initiative, coordinate session moderation, and contribute to local planning and arrangements. So please join me also in thanking our Digital Preservation 2018 program committee. All right, we have a great afternoon ahead of us. I have a few more logistics to share and some exciting updates on NDSA membership. And of course I'd like to thank our sponsors. Following the introduction and the logistics, we'll have our award ceremony and of course the much anticipated keynote from Snowden Becker. To wrap things up, we'll have a flurry of minute madness and poster presentations followed by a drinks reception. So like I said, an exciting and busy afternoon. Last year in support of the Digital Preservation Conference, the NDSA coordinating committee and working group chairs piloted a draft set of community communication guidelines and a code of contact. This includes specific code for conducting meetings as well as general norms for respectful communication and collaboration, whether the mode is on the lift serves in our Zoom meetings or here at DigiPres. So in order to ensure that DigiPres remain a harassment-free space, I implore you to review the code of conduct linked on the slide that you're now seeing. If you have any questions or concerns, please seek out the DLF staff who are wearing white lanyards. Our agenda is available as a pocket agenda at the reference desk if you'd like to have a quick reference. If you need more detail, especially for the presenters and the moderators on which rooms presentations are in and which times, I'd ask that you please see our online sketch, which is linked to here on the slide. And as well, we are capturing slides for from our presenters in our slide repository at osf.io. There are already a number of slides uploaded there. But if you're a presenter, if you could please make sure to have your presentation, make sure we have your presentation. And if you're a moderator, please remember to remind your presenters to share their slides so that we can upload them. In addition, we have a community note-taking document. It's a Google doc. If you follow this bit.ly link, which is case-sensitive, you will be able to get to our community notes. And I encourage you all to collectively take notes together and add not only notes but commentary as well. And I'm hearing that that is the wrong link. Bit.ly slash digipres18 is the correct link there. So my apologies for that. And thank you. Is that Nathan? It's really hard to see up here. Vegas is a tipping town. And if it is within your means, we would ask that you please consider tipping your hotel staff five a day within your room, as well as your shuttle drivers, taxi, Uber, Lyft drivers, and waitstaff. New this year, DLF have organized a toiletry donation drive. And you can find a donation box near the registration desk, where you can donate unused and unopened toiletries, soap, shampoo, toothpaste, which will benefit the Nevada partnership for the homeless youth. We also are on Twitter. We have a hashtag for the conference, hashtag digipres18. And NDSA is on Twitter as the Twitter handle NDSA2. A couple other things that I wanted to mention that I don't have slides for is that it is important to use the microphones. During after Snowden's Q&A, we have two microphones set up up front here. If you have a question, please come up to the microphone and speak into the microphone so that we can pick that up on live streaming and so that all of us here are able to hear your questions as well. There is a quiet room available. If you need a little time to get away and you would like to find that quiet room, you can go to the registration desk and they can direct you to the quiet room. There is also a nursing room available for nursing mothers. And the hotel can freeze milk. And if you would like to know more about that, you can go to the registration desk and they can help you there. All right. So I'm really excited to share that NDSA is growing. We have over 10 new members to NDSA this year. You can see them here on the slide. And membership with NDSA allows for new communities to come together and share digital preservation knowledge and experience in our NDSA membership groups. So I would appreciate it if you could all join me in thanking all of the new NDSA members for this year. In addition, sponsors, support from our sponsors allow Digiprez to support our reception, offer live streaming, as well as to keep you fueled with coffee during the breaks. If you could please visit the sponsor tables near the registration desk and let them know that you value their support of our community. I would like to recognize our sponsors. Our platinum sponsors are Stanford University Libraries, the Digital Preservation Network and the University Library at the University of Nevada, Reno. Our gold sponsors are Memnon and Indiana University, Gail Cengage, OCLC, Cortex, Preservica, Code Ocean, I2S, Innovative Imaging Solutions, DuraCloud and DuraCloud Europe. And our silver sponsor is AVP. And our bronze sponsors are the Library Juice Academy, the University Libraries at the University of Arizona, and the Legal Information Preservation Alliance. Please join me in thanking all of our sponsors for their support of Digital Preservation 2018. All right, I am really excited to have the opportunity to recognize the hard work of the many people, organizations and projects that have been having an impact on the Digital Preservation Community today and into the future with our NDSA Innovation Awards. The first award that we have is the Organization Award. The Organization Award is awarded to an innovative approach to providing support and guidance to the Digital Preservation Community. The Organization Award, and I believe the recipients of the award are up front here. If you could just come up to the stage, we have your awards for you. The Organization Award goes to the Texas Digital Library. TDL has taken an innovative approach to Digital Preservation Stewardship, offering members a choice between multiple well-defined heritage-based commercial storage options. They support sharing resources and building community, working closely with members to discover the right combination of technologies and workflows to meet their unique content needs. TDL staff participate on behalf of its membership in multiple NDSA working groups, Major Digital Preservation Conference planning and participation, and in multiple national projects and communities. Accepting this award on behalf of the organization is Kristy Park, their Executive Director. Please join me in thanking Kristy Park. And Kristy can't forget her NDSA mug, which is our traditional award. There you go. Next up is our Project Award. The Project Award is awarded to projects whose goals or outcomes represent an innovative, meaningful addition to our understanding of processes required for successful, sustainable digital preservation stewardship. Drumroll? The Project Award goes to the UC Guidelines for Born Digital Archival Description. The guidelines are a significant step in breaking down one of the biggest obstacles to making born digital content accessible its description. With standards for describing born digital content, archivists and other professionals can more clearly communicate the quality, quantity, and usability of digital materials to users. This project embodies a creative and inclusive approach to problem solving, tackling a hyper-local problem while contributing to larger discussions about widely shared challenges. Accepting this award on behalf of the entire team, which includes Annalise Burdini, Kate Tasker, Charlie Muckery is Shira Peltzman. Our individual award is awarded to folks making a significant, innovative contribution to the digital preservation community. And this year our individual award goes to Edward McCain. Edward has been and is a leading voice and passionate advocate for saving born digital news. As digital curator of journalism and founder of the Journalism Digital News Archive program at the University of Missouri, he has advanced awareness and understanding of the crisis we face through the loss of the first draft of history and digital formats. In collaboration and with support from colleagues and community members, he has led the Dodging the Memory Hole outreach agenda. Thus far, five Memory Hole forums have brought together journalists, editors, technologists, librarians, archivists, and others who seek solutions to preserving born digital news content for future generations by bringing together thought leaders in the news industry and information sciences. The forums have broadened the network of stakeholders working on the issues and helped these communities gain critical insight on the challenges and opportunities inherent in preserving content generated by a diverse array of news media, both commercial and non-profit. Join me in thanking Edward. Forget your mud. And finally our future Stuart award. The educator award is awarded to educators, trainers, or curricular endeavors which promote innovative approaches and access to digital preservation through partnerships, professional development, opportunities, and curriculum. The educator award goes to Heather Mulesen-Sandy. Heather's creative work in meeting the digital preservation education needs of a relatively small LIS program often, programs often remote students has provided those students with concrete practical experience to anchor their understanding of theory as well as enabling those students to serve their communities through learning, through service learning. These benefits have been further extended to a larger community of practice by her considerable contribution to the literature of digital preservation education and deepened by her personal fostering and mentoring of her students. Please join me in thanking Heather. One more? All right. Can we do the mug too? Yeah. Everybody else wants the mug in their shot now, huh? All right and now finally our future Stuart award is awarded to those taking a creative approach to advancing knowledge of digital preservation issues and practices. The future Stuart award goes to Raven Bishop for her work as instructional technologist on Washington College's augmented archives project. This collaborative work has helped leverage emerging technologies to increase access to and engagement with primary source materials in Washington College's archives and special collections as well as exploring ways to solve the sustainability problems institutions face in end user platforms to create augmented reality content. A co-founder of the project Raven served as resident augmented reality expert and visual arts educator guiding the pedagogical considerations of the project serving as the principal developer of the pocket museum app prototype and overseeing the creation of the resource website. We would also like to make a special acknowledgement to Raven's colleague and collaborator Heather Callaway for her work as archivist and special collections librarian and co-founder of the augmented archives project. Please join me in thanking Raven Bishop. All right now it is my honor to introduce on behalf of the digital preservation 2018 program committee our digital preservation 2018 keynote speaker Snowden Becker. Snowden Becker as many of you know is a leading expert in audio visual media preservation and co-founder of home movie day the world's largest ongoing film preservation education and outreach event. Her research interests focus on how audio visual materials are accessed and preserved as part of our larger cultural heritage and her most recent research delves into important questions around management and archival practice in law enforcement. This work has led to an IMLS funded national forum on data management needs arising from large-scale video recording programs such as police body worn cameras. In addition to her leadership around audio visual media preservation in professional associations such as SAA and EMEA, Snowden manages the graduate degree program in audio visual archiving and preservation in the department of information studies at UCLA. She has previously worked at the academy film archive, the J Paul Getty Museum and the Japanese American National Museum. Becker holds an MLIS from UCLA graduate school of education and information studies and a BFA from Maryland Institute College of Arts. Please join me in welcoming Stone Becker. Hello everyone. I'll invite you first to just close your eyes and take a few breaths with me. Many of you have traveled a long way to be here today and I know that can be hectic so let's take a moment to just arrive together if you will indulge me. A single breath in to remind yourself of where you are. A breath out to remind yourself of where you're going. A breath in to give thanks for being here. A breath out to give thanks for where you're going to be going. And a breath for yourself. And a breath for those around you. I'll start with thanks for the people whose traditional lands we're coming together on today. To the people who have worked to feed and care for us this week. To the organizers of this event, to NDSA and DLF and to the generous sponsors who make it possible. To the speakers who are here to share their knowledge and experiences with their colleagues. To my teachers who have given me so much. And to the students who honor me by receiving those gifts in their turn. And to everyone in the room. Thank you. It means more than I can say to be standing here speaking with you today. I can't actually see you but I know you're out there and that you have high expectations for me. And that is I think how everyone who works to make digital collections accessible for the long term feels about their audiences. What's different here is that you can actually see me. Which we all know is very much not the case for most users of digital collections. Humans and their work are largely rendered invisible in and by digital collections. When the hand of the creator appears it's regarded as a human error, a glitch, an intrusion rather than a welcome reminder of the effort that went into the creation. This is however just the newest piece of a long social history of referring to things as being machine made. And an equally long visual history of revealing the human workers who actually operate the machines that do the making. Andrew Norman Wilson's multi-channel video piece from 2011 workers leaving the Googleplex took visual note of the way employees working in Google scan ops division the group in charge of scanning millions of pages for the Google books project among other things were physically isolated from other Google operations and were also mostly people of color. His piece echoed the 1895 film of workers leaving the Lumiere factory which is widely acknowledged to be the first film exhibited to public audiences. As well as recordings shot over subsequent decades by H. Lee Waters and other itinerant filmmakers working in regions of the American south. Waters films constitute rare and valuable documents of working class people in the industrial age in America. The first time I saw the films of H. Lee Waters was at the orphan film symposium in South Carolina in 2004. At that time archivists at the Duke University libraries were still working to find and bring together more of Waters factory gate films an acquisition process that had actually begun in 1988. Having the 1941 film that Waters shot in Canapalus North Carolina named to the National Film Registry in 2004 brought attention to Waters work and helped the libraries collecting efforts considerably but they were still a long way from the impressive feat that they would eventually achieve. Of the 252 films Waters was known to have shot 96 of those now extant are held by Duke. They are fully described and accessible online with detailed shot listings for a number of the films comments from viewers who find the collection online continue to help identify specific locations events and individuals captured in the films. Unfortunately the easier it is for people to see the holdings of an archive the harder it is for them to understand what it takes to make them visible. There are clues pointing to the three decades of effort that went into assembling the Waters collection preserving the original films converting them into a range of video formats digitizing the video copies cataloging the reels and composing the synchronized shot lists but they are only apparent to someone who's looking for them on the site. One might say that archivists especially digital archivists have become butlers in the house of human knowledge as opposed to the handmaidens of history that we've talked about before. They're relied upon to be discreet to appear when they're needed but not make a nuisance of themselves when they're not and to preside over a staff of invisible and endlessly toiling downstairs workers. They even iron the goddamn newspapers. If everything in the house is working then they must be working to you and when everything in the house shuts down it must be the butler's fault. Coincidentally I was on my way to the most recent orphan film symposium this April when I saw this post on Twitter which epitomized in the irritating little something I call the problem of the assumed archivist. Feel free to join me in a collective eye roll here at the audacious and entirely too familiar suggestion that the Library of Congress or somebody like that should be doing a better job of archiving this stuff. We might also indulge ourselves in a little bit of semantic pedantry and point out that when the word archive appears on everything from shirts and shoes to cocktails and soap it clearly has the effect of confusing people about what archive noun or verb really means. It hurts to be taken for granted and it hurts to be blamed for not doing work we were never in the position to do. More than anything this puts me in mind of Alice's conversation with the white queen and through the looking glass. It's never jammed today for us and a starting salary of tepence a week sounds awfully familiar too but saying that archivists aren't to blame for loss of digital resources that prove defameral because a news sites archive wasn't a real archive partakes of the new true Scotsman logical fallacy insisting that only real archivists can know what the archive is or can be largely works against the post custodial distributed responsibility models that are probably our best hope for practical answers to the challenges of digital preservation and especially of personal digital archiving. No one is really confusing us with the t-shirt shop around the corner. Archivists should certainly fight against archival work being diminished erased misunderstood or taken for granted. We want rightfully for the labor we do as librarians as archivists as digital preservationists and curators to count and to be celebrated. We very much want for our timely interventions not to be assumed nor for our supply of skilled labor and general goodwill towards others be presumed infinite. To see ourselves as others see us requires us to have empathy rather than frustration with the question of why it isn't all digitized and online and I know that's a big ask. We want to not have to answer that question yet again from a researcher or from a fellow cocktail party guest. We want moreover to attain that degree of perfection infallibility and omnipresence with which the assumed archivist is blessed. But we don't win when we get lost in arguments over what counts as an archive or when we refuse to ratify well-intentioned work by those who stand outside our inner circles. The fact is we serve one another as much as we serve others in our work and for this reason how we see ourselves in the form of things like professional identity values and standards the metaphors we use for our work the vigor with which we share and write and publish about our projects to provide them with context and render at least some of our work more visible even perhaps especially theorizing our work. All of this does very much matter in being conscious of how we see ourselves and how we express that seeing we shape how others see us too. The title of this talk as some of you may know is drawn from Robert Burns 1786 poem to a Laos which I will not even attempt to render in the Scott's dialect in which it was written. Just as Norman Andrew Wilson's workers leaving the Googleplex took part in a visual history of factory gate films going back over a century my use of this phrase in talking about media and self-reflection is part of a long tradition of cameras and Burns. Alexander Black founder of the photography department at the Brooklyn Institute of Arts drew the title of one of his innovative pre-cinema picture plays from the same source in 1896. An alternate title for his picture play was life through a detective camera. In this case detective camera was not a reference to police surveillance the first films to be introduced into courts as evidence would not be shot for a few decades yet but to the then new capacity for film cameras to capture fleeting moments with shorter exposures. A few decades later the amateur cinema league would draw their motto from Burns' poem as well. The ACL was a group of amateur camera enthusiasts founded in 1926 by Hiram Percy Maxim a wealthy man from Massachusetts. Maxim's father invented the portable machine gun and his uncle invented smokeless gunpowder but Hiram preferred to shoot with a camera instead. Given the cost of amateur cameras in film most ACL members in the early years were similarly wealthy men although the invention of the economical eight millimeter film format in 1932 soon brought amateur filmmaking into the reach of the middle class and the organization's membership continued to become more diverse and far-reaching in the decades that followed. By the early 1940s movie cameras were small cheap and quiet enough to become tools of subversion and surveillance as well as self documentation. After the bombing of Pearl Harbor and the issuance of executive order in 1966 and February of 1942 Japanese Americans living on the west coast of the United States were required to surrender their guns cameras and their guns cameras and shortwave radios their tools of protection documentation and communication. Within months over 100,000 Americans of Japanese descent most of them citizens were forcibly removed from their homes and incarcerated indefinitely first in assembly centers hastily constructed at fairgrounds and racetracks then in relocation centers in remote places like Manzanar California, Hart Mountain Wyoming, Poston Arizona, and Topaz Utah. Among the most famous images of these sites including this one shot from a guard tower at Manzanar were taken by Ansel Adams working as a civilian under military authorization. A selection of the images were published in 1944 in a volume titled Born Free and Equal and Adams donated most of the original negatives shot on those visits to the Library of Congress in the late 1960s. Also taking pictures at Manzanar was Los Angeles portrait photographer Toyo Miyatake who had been forcibly removed with his family from their home in LA. Those incarcerated were allowed to bring with them only what they could carry which in Miyatake's case included enough small parts and lenses to assemble a working camera out of scrap wood once they arrived. Film found its way to him from sympathetic employees of the war relocation authority and others on the outside. Just 300 miles north northwest of where we stand Dave Tatsuno and his family were incarcerated in the Topaz camp in near Millard Utah. Instead of surrendering his camera to authorities Tatsuno loaned it to a white friend in Oakland who later mailed it to him care of his co-op supervisor Walter Hondrick. Hondrick a fellow photography enthusiast cautioned Tatsuno to avoid taking pictures of the camp's fences guard towers and other security arrangements but otherwise encouraged him to keep up with the hobby they both enjoyed. The resulting images of Tatsuno's family and friends at Topaz edited together after the war became the diary film Topaz. It was named the National Film Registry in 1996 bringing Tatsuno national fame. Tatsuno donated his films including Topaz to the Japanese American National Museum in 1991. It was there 10 years later almost that I first became acquainted with them as a first-year MLIS student working on grant-funded digitization efforts. Janum's home movie collection consisted of several hundred reels of eight millimeters super eight and 16 millimeter films shot by Japanese Americans and other people close to the JA community from the 1920s to the 1970s. They were a genuine treasure trove but as with the H. Lee Waters films in 2004 in no way was it in good shape as an archive. Most of the films had been acquired in the museum's earliest days before formal processes of accessioning and donor agreements were established. In many cases there was no paperwork at all and no detailed conditioning condition reporting on intake. There was no way to tell whether films on the shelf with advanced vinegar syndrome had come in already in poor condition or whether they'd simply deteriorated badly over the last 10 years. My efforts to impose some sort of order on the collection, research provenance and provide better intellectual and physical access to the film materials were not very successful at the time perhaps because with the idealism of the freshly minted archivist and the audacity of the outsider in a community-based organization I pushed far too hard. When I said we should be doing a better job of archiving this stuff the colleagues who had made the original acquisitions heard you should have done better in the first place. As I said before and as I know now it hurts to be blamed for not doing work you are never in the position to do. What I did have more success with though was working with colleagues outside of Janum and in the film preservation community to make best practices of film preservation more accessible to people who still had their home movies at home. On August 16th 2003 four colleagues and I coordinated the first International Home Movie Day event. In 26 cities in the U.S., Mexico, Canada and Japan film archivists made space equipment and expertise available to their local communities to help them identify assess and most importantly see their family films often for the first time in decades. In the 15 years since then I'm tremendously proud to say that Home Movie Day has been celebrated annually with events taking place in as many as 100 cities on six continents. Audiences have had the chance to view several thousand unique and irreplaceable films including a few more that have found their way onto the National Film Registry alongside David Tatsuno's Topaz. Most importantly we have helped those family films age in place giving people the information and resources they need to preserve them at home as family heirlooms to digitize them responsibly and at high quality and to retain the original materials while also driving home the fact that such personal documents are of interest and of value not just as personal records but as cultural and community history. Home Movie Day 2018 is this weekend wherever you call home it's likely there will be an event near you. I encourage you to visit the Center for Home Movies website to find your closest Home Movie Day or to sign up as a host site for next year. So how does one get from vintage home movies of Christmas mornings and kids with kittens to working with police bodycams and contemporary evidentiary video? Well it's not as big a leap as you might think. At the Home Movie Day event in Austin, Texas in 2006 we discovered this insert in the box of a reel of home movies shot during a family camping and fishing trip in November of 1963. Although it speaks to the increasing prevalence of consumer cameras dozens of which captured still removing images of the Kennedy assassination in addition to Abraham Zapruder's famous film this call for assistance from what we now call citizen journalists wasn't even that novel. At the same time that Dave Tatsuno and Toyomi Otake were smuggling their cameras into the American concentration camps readers of the amateur cinema league's movie makers magazine who had far greater freedom of movement were being urged to report what they had recorded of their travels abroad to an unnamed government agency as their patriotic duty. The most famous home movies in the world Topaz the Zapruder film of the Kennedy assassination George Holiday's video of the violent arrest of Rodney King these are all evidence of crimes and progress. They juxtapose quiet moments of personal happiness like Tatsuno's wife breastfeeding their newborn daughter who was born in camp in incarceration with moments of national tragedy on a larger scale. When these personal documents become public record either through canonization and lists like the National Film Registry or the ACL's 10 best or through viral notoriety on the nightly news and in criminal proceedings we need to take notice of how they're created by whom for whom who keeps them safe and where they go within the systems of which they are apart. Again this is not a new phenomenon we are rapidly approaching 100 years of films in the courtroom perhaps fittingly given our location the first film exhibited as evidence in a British court was in 16 millimeter police surveillance footage of a street gambling bust in in uh Darbyshire in 1935. The bust happened to coincide with the circus coming to town and the presence of elephants on the street in Darbyshire certainly seems to have kept attention away from the surveilling police. The film which was labeled only evidence comma 1935 was recently rediscovered by the British Film Institute as part of a police training facility's collection. It's not certain but I think it's highly likely that the film survived for this long largely because it was deemed useful not only as inculpatory evidence documentary evidence but also as a training and demonstration tool for the police who created it. For this reason we should be keeping a close eye on the patchwork of state-level legislation national initiatives and departmental policies that govern the use of body-worn camera footage created by police whether they exempt body cam footage from the open records laws that require them to be made available to the public on request as is the case in North Carolina or carve out broad exceptions to the statutory retention periods for use in education, discipline and training as is the case in Illinois. These policies will have a huge impact on access and preservation of evidentiary video and the longevity of these recordings all of which are born digital and many of which are stored in cloud-based repositories with fee structures that potentially make long-term stewardship staggeringly costly will be a mixed blessing. Police adoption of body-worn cameras in response to civilian use of cell phone cameras has also escalated an ongoing exchange of retaliation by recordation. Among other things digital video files and public records are far easier to circulate than films and tape-recorded media which means that the possibility of increased transparency around police and policing practices comes with the risks of hypervisibility for the subjects of those videos and challenges individuals' rights to privacy as well as the right to be forgotten. In 2016 the Spokane Police Department posted body cam footage of an encounter between a visibly intoxicated man and a police officer both of whom were named in the posting. The department framed this as an example of good policing showing the officer's patience with the man's persistent diligence and the video spread rapidly online racking up millions of views. The video is still up on the department's Facebook page and it even shows up in a redacted but still I think completely recognizable version as the homepage background for fastredaction.com a company that makes real-time redaction applications for law enforcement clients. Horrifyingly fast it has gone from shame-based infotainment to trendy wallpaper. This is patently unjust when it's footage of a drunk white dude who doesn't even get hurt by the copies antagonizing. When it's footage of an unarmed black or brown man who is injured or killed by police during such an encounter it's outrageous and when such footage circulates indiscriminately as my colleagues Sophia Noble and Jared Drake have pointed out it deepens and perpetuates the harm done to the individual and re-traumatizes an entire community. The utility brand of body worn cameras bills themselves as the ultimate witness and life through these detective cameras raises once again the hope that people will at last be able to see themselves as others see them. Underlying much of the public discourse around police body cam footage and its uses there is the simple plaintive confusion. How do they not see what we see? How do they not see the violence, the injustice, the rational fear that others feel? How long must we keep these documents before they can be really seen and will they even last that long? Putting a camera where your heart should be has not yet helped fix what's wrong and I don't know that it ever will. Instead police departments among others are now faced with the daunting challenge of managing terabytes of new video data every month keeping that data authentic accessible and trustworthy, retaining it in accordance with a variety of conflicting and confusing retention schedules and devising equitable policies for retention and release of that data. The fact that archivists have largely been observing, not participating and the development of such policies and practices leaves many of us feeling rather like the snails in this New Yorker cartoon. The villain time is right there and yet the moment for us to do something to stop him may already be long past. The problems of transparency and accountability are extraordinarily complex, extraordinarily heavy issues. They're a burden for all of us to bear as a society and for all of us to think about how to fix. I don't mean to make light of them, but in the interests of ending on a lighter note I'd like to unpack this image a bit. I paid condonass publications via cartoonbank.com a licensing fee to use this image in my presentation rather than just screen grabbing a watermarked low-resversion and saying thank you, fair use. So here's a shout out to the human beings who digitized this cartoon. I see you and I see your work. You make this cartoon available online with metadata robust enough for it to be retrievable instantly when I searched for snail sheriff. I hope my licensing fee affirms the cartoonbank business model. Although it was modest I hope that fee helps provide those metadata generating humans with competitive salaries or at least a living wage and that it contributes to well thought out digital preservation plans for the thousands of other digitized cartoons that the cartoon bank makes searchable and discoverable online. And I sincerely hope those human beings do not have encounters at cocktail parties with any bankers who ask what they do and then condescendingly say well the cartoon bank isn't a real bank you know. Further I hope that we as we consider the talks and the projects presented in the sessions to come at this conference that we keep one another's safety in mind, that we try to see ourselves as others see us and that we bear in mind as well this passage from the rabbinical teachings of the Mishnah, the perquet, a vote. It is not upon thee to finish the work, neither art thou free to abstain from it. I found these words written by hand on a scrap of paper among the personal files of Clara Breed who is children's librarian and later city librarian at the San Diego Public Library. In 1942 Breed accompanied her young Japanese American patrons and their families to the assembly points from which they would be taken by bus and train to points unknown. She gave them stamped self-addressed postcards and told them to write to her, to let her know where they were and to tell her how she could help. Over the next two years she exchanged hundreds of letters with those children and with their parents and their brothers and sisters. She advocated for their rights in the professional press, wrote on their behalf to the federal government for pleas of clemency and sent review copies and weeded books from the public library to stock the libraries and school rooms of America's concentration camps. The letters she received from those children were the first collection I digitized at the Japanese American National Museum and they continue to have relevance and resonance in the current moment. Clara Breed's professional and personal allyship remains a moving example to me of how to do the work that is in us to do, how to be more than just a nice white lady. I wish you all strength in doing what you can and I end as I began with thanks and we do have time for questions I think. I just wanted to add, please do come up and use the mics. They should be on for your questions. There's a mic here and there's a mic over there so please do use the mics for your questions. Thank you. It's okay if nobody has questions. I'm happy to talk to people afterwards as well. Oh, hi Howard. It's so good to see you. It's been so long. Okay, you talked a lot about the invisibility of our profession and particularly the back room side of it. Could you talk a little bit about what was a major kind of movement maybe a decade ago that started to die down a little bit among politicians and others to say, Google, we don't need libraries. We don't need archives. We have Google. And in a sense how that devalues us, but just riff on that a little bit. Sure. Well, that feels like preaching to the choir for sure. But I don't see those people when I go to the public library. I mean, if I saw them there, then there is no way that a politician would be or anyone, you know, an economist, for instance, publishing in the Wall Street Journal as recently occurred. There's no way anybody would get away with that. I think this is probably a discussion that each of us has with our even our close family members and friends who when I was when I was enrolled in the PhD program at UT Austin, you know, I was there during the economic recession of 2008 when the market went went bad. And I had very caring friends who expressed tremendous concern for me. They really were worried that I was going to school to be even more of a librarian when obviously libraries were going away. And I pointed out to them that when times get tough and you can't order stuff from amazon.com, where do you go? You go to the library where you can get those books for free. I think a concern that I have is that in the public library world, particularly we're on, which I'm not part of, so I shouldn't say we, but people are on the defensive about that. Demonstrating value is essential to staying alive and continuing to get your meager allocation of public funding. And so there's been a tremendous amount of scope creep. Libraries are responsible now for not just the lending of books and other information resources and the provision of internet access to those who don't have it, but they lend musical instruments and take the place of music and arts education in the public schools. They lend exercise equipment and have exercise programs for an increasingly unhealthy citizenry. Librarians are being asked to do more and more and more to justify their very existence. And at some point I worry that we'll lose the ability to say we've done enough. We do enough with this. That sounds, I know, almost as if we are complicit in devaluing our work. And maybe the answer is that we dig in at some point and say to anyone who proposes that public libraries should be defunded in favor of, you know, amazon delivery boxes or, you know, anybody that says that public services like women and infants and children's funding for food be replaced by blue apron boxes, that the private sector doesn't and never has answered all of the needs of our society. And it's always important to look at who's saying that and who's putting money in their pockets. So pushing just, I don't see anyone else here, so I'll go on. Just please get in line or take the line. Pushing a little further from the invisibility of the librarian, the library worker, the archivist, to another theme in your talk, which is really the invisibility of certain groups within our society and marginal groups within our society. And marginal groups within our society that historically have not been well represented in public discourse or in public libraries. So could you talk a little bit more about what you think our role really should be in the future in terms of trying to make sure that these groups are well represented? Our role absolutely can and should be an activist one. We get to push back on the notion that our work is neutral, that we simply collect and retain what has been created, that history is a thing that just happened, not that people made happen. We get to select and prioritize in ways that can be remediating, that can, our visibility doesn't really matter as much as that we can make possible. This is the classic movement of allyship, leverage your privilege. If you are the person that gets to decide what collection gets fully described and prioritized for digitization, or gets the extra time from your grant money, that is a thing that is worth doing and is honorable and it's mandatory. Thank you. Thank you. Well, I can go sit down now. Thank you. Thank you, Snowden, for that wonderful talk. So now we are ready for our minute madness presentation. So if the minute madness folks want to come up here and get ready and I will introduce Amy Rudersdorf who will coordinate the minute madness session. Okay. Hi. It really is as bright as everyone said. I'm Amy Rudersdorf and I'm going to be moderating this session. I'm pretty excited about it. This is always a really fun part of the conference. So this is minute madness. They literally have one minute to do their presentations. We have seven presenters or seven groups of presenters and they are lined up in order over here. Isn't that great? So I will, like I said, be timing the presentations and there will be an alarm and it will go off if they go longer than one minute. So I will be very strict about that. If you were in any of my sessions at DLF, you know that I'm strict about the alarm. So before we start, I think this is really intimidating for people to get up and talk in front of a big crowd. So if we could give them a warm sort of round of applause. Yeah. Okay. So everybody is going to introduce themselves and once you're done, the next person should come right up and start their presentation. Are we ready? Okay. Go ahead. I'll run off this way. Can I ask for clarification? Do we only have one minute? Because I was just told we had extra time. All right. You two are telling us two different things. So we'll stick to the one minute. Do I go ahead and click? Oh. Hello. We're Amy and Mark Anderson from Anderson Archival. When searching digital collections, we often encounter two main problems. Number one, we don't find what we're looking for. If we search for a known quote like this one from Winston Churchill, one or two OCR errors can hide the data and we miss the whole point of the quote. Problem number two, we are overwhelmed by a ship load of results. The methodology you employ can mitigate these problems. For the most accurate data, establishing a multi-step system for scanning, image cleanup, OCR and QA is critical. You also need detailed tagging to support your data architecture as Snowden's snails beautifully demonstrated. And the right search technology to tune to your data set. We've used this methodology to rectify an almost 300,000 page collection where 10% of the pages were either missing or unreadable. The executive director was horrified to learn that nearly a decade of their research was not complete. Tuning your methodology will yield great results and we'd love to share what we've learned with you. Hi, I'm Edward Glower. I'm a grad student from the University of Illinois. Video games are a growing part of cultural expression around the world. While preservation of video games has long been taking place, the preservation of the social spaces that surround these games has hit a standstill. For some games, this may not be an issue, but massively multiplayer online games such as World of Warcraft lack an incredible amount of context without access to these social spaces. In my poster, I explore some of the attempts and progress that has been made in the preservation of the social space and present potential options to help move us forward. I believe that it is essential that partnerships are formed with the companies creating these virtual worlds in order to ground our preservation efforts in solid legal ground. I believe that we can take inspiration from the work of ethnographers of these worlds and expand the scope of their data capture methods in order to provide a clear picture of how these cultures form and operate. And to explore these paths, I'm hoping to find more people interested in pursuing this line of research. Thank you. Hi, I'm Nathan Tolman from Penn State. Digital preservation has a lot of concerns, and I'm here to talk about unconventional tactics for distributed digital preservation. If we have a lot of concerns, I'm wondering if we can address some of those concerns, do we have to address all of them equally? If we can save some CPU cycles, can we perhaps save a forest, if we can find some alternative methods, can we preserve more by doing less? There were some slides, but the interplanetary file system from Protocol Labs is proposing a way to, a different way of using the web, using a peer-to-peer protocol, where instead of having domain names that resolve to IP addresses, all files and contents are hashed, and we use the hash as the address, sort of building fixity into the process. It's a peer-to-peer network. We have an IPNS instead of a DNS. You can combine this with blockchain for authenticity. There might be some problems with versioning. The Archangel project in the UK is using blockchain to engender trust in the public digital archives. It's similar to blockchain applications elsewhere. It's not anonymous trust like in Bitcoin, but it is a trusted blockchain application where the changes are public. So you can always trace back if there's been any change in the fixity process. So it's a way where you can have fixity and verification without having to do multiple copies all the time all over the place. It's possibly saving some of this. Time's up. Thank you. Check this slide, Zach. I'll put it in OSF. Hi, I'm Hannah Long, and I'm the Electronic Records Archivist at the Wisconsin Historical Society. The Society is the official repository for 43 Wisconsin state agencies. In the last couple of years, we've taken a couple of different approaches to non-custodial preservation of digital records that are not transferred to us, but are maintained by the agencies themselves. The first of these efforts was guidance for mass digitization projects. As more agencies move toward digitizing public records, we want to ensure that they're taking into account digital preservation considerations, such as file formats, metadata, storage, replication, and fixity checking. Our other effort in this area was an appraisal workflow for collecting paper records once they have been digitized by state agencies as copies. This workflow sets up appraisal criteria for collecting these records as backup copies, including a matrix of risk assessments, an evaluation of digital infrastructure, and steps for future re-appraisal. This work was done as part of a three-year NHPRC electronic records grant whose grant products can be viewed at this URL. Come find me if you have any questions. Thanks. Hi, I'm Kathleen, and this is Nicole, and we're grad students at the UT Austin School of Information. Our project was a collaboration with the Institute of Classical Archaeology, which tasked us with recovering files related to an excavation that happened between the 70s and the 90s. The research was then published in 1998 as the Quora of Metaponto, the Necropolis, the book. Our task was to recover the old data and to recreate the book so it could be published online. And in order to do so, we created two emulations of old software and operating systems to view and migrate the files. We faced quite a few challenges that come with preserving complex file types, including missing images and fonts, which was especially difficult when the authors were writing in ancient Greek, not to mention all legal and copyright issues that arise with emulated environments. In the end, we managed to give the ICA the recovered files as well as emulated package for the future. We'd like to share our experience so that cultural heritage institutions will feel more empowered to build and maintain their own emulators, eventually leading to more legal openness and leniency. We'll have a poster up outside. I'd love to talk to you more about our project. Thanks. I should touch it. Should I touch it? Okay. Okay. Hi, I'm Roxanne Shirazi, presenting on behalf of myself and my colleague, Steven Zweibel, at the City University of New York, to talk about our guidelines for depositing digital dissertations, which is part of our preservation workflow, but also a kind of digital preservation backup plan. As you can imagine, there are a lot of administrative constraints around the degree granting process. This is not your usual digital publishing context. There are strict format requirements in place at most universities, almost always based on terrarian style. Okay. It's terrarian all the way down. So we looked at how to use that administrative requirement to reshape the way we approach the problem of complex digital objects. A single digital deposit might include a website, geospatial data files, audio visual files, and a white paper. We wanted to standardize the documentation for digital student work at the point of submission so that we could avoid later challenges in library processing. We created requirements for items like a digital manifest and a note on technical specifications to really compel students into providing information about the digital components alongside the more traditional front matter that appears in their dissertation manuscript. We don't have a poster here, but if anyone wants to chat, I'm here. All right. One more round of applause for the Lightning presenters. That was great. I believe that we are now ready for our reception. There's drinks reception with alcoholic and non-alcoholic beverages. There are, if you go and find the DLF staff with the white lanyards, they'll be coming around with drink tickets, and are the drink tickets in your... Staff have them. They'll be coming around and passing them out. And I invite you all to check out the posters. There are a couple poster presentations that you can view during the drinks reception. So thank you once again, everyone, and let's thank our presenters one more time.